PRICE IS CENTS 




THE PENN PUBLISHING COMPANY 



Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
i-EWis Tubes. For five niale and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Rvith. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD N-EW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum Of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



A Cure for Hypnotism 

A Farce in One Act 



By 
ASA STEELE 

Author of *' Greater Than War** 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1919 



-• \- 






Copyright 1919 by The Penn Publishing Company 



TiMP96-007lT3 

A Cure for Hypnotism 

Oj3I.D 5 2.116 



--O/v c I 



A Cure for Hypnotism 



CHARACTERS 

Harry Janvier - - a lively young man, full of fun 
Maude IviNS - - . . a pretty young woman 
Jim Ivins - Maude's husband, a slim^ 7iervous 

man of forty or thereabouts 

Time of Playing. — Thirty minutes. 



STORY OF THE PLAY 

The domestic bliss of the Ivins home has been sadly 
upset. Maude Ivins has become fascinated by a book 
on hypnotism, and tries it on Jim, who doesn't like it. 
Harry Janvier, an old friend, hears Jim's sad story 
and undertakes to cure Maude. He pretends she has 
hypnotized him, and that he now thinks he is her 
husband. When she objects to being kissed Harry 
goes wild. " I must break something ! " He chases 
the now thoroughly frightened pair around the room. 
Jim yells for help. Maude breaks down. " I'm done 
with hypnotism." Harry tears up the book and laughs 
at them. The cure is complete. 



COSTUMES, ETC. 

Harry. About twenty-five. Has a very jolly, con- 
fident manner. Wears business suit. 

Jim. a little older, perhaps thirty. He is rather 
thin and nervous, and has slight cough. Business suit, 
and has on overcoat and hat at entrance. 

Maude. A pretty young woman in the early 
twenties. Wears a handsome house gown. 



PROPERTIES 



For Harry : Several sofa cushions, and a chair light 
enough to be picked up and swung over his head. 

For Jim : Overcoat and hat. Hat-box, containing a 
woman's hat of striking color and design. A stand or 
rack containing poker, tongs, etc., such as are used 
for an open fireplace. 

For Maude: A small book. A vase, containing 
water and flowers. 



SCENE PLOT 5 

Other Properties : Telephone on wall or table up R. 
and a bell to ring. On table down R. c. some books, 
a small bowl of flowers, a china ash-tray or other 
small china ornament. The china or glassware should 
be cheap, as it is to be swept from the table and prob- 
ably broken during the play. 



SCENE PLOT 

BACKING 




□ 

rABLE 



DOOR 




oQo 

TABLE a CHAIR 



Scene.— Mrs. Ivins' sitting-room. Doors R. and l. 
Window up l. (may be omitted if preferred). Mantel 
and fireplace up c, with fire-irons on hearth. Vase of 
flowers on mantel. Small table holding telephone up 
R, or telephone may be on wall up R. Chair up l. 
Table and two chairs down R. c. On table are books, 
china ash-tray, bowl of flowers, or other ornaments 
to be broken toward close of play. Down l. sofa, with 
cushions. 



A Cure for Hypnotism 



SCENE. — Mrs. Ivins' sitting-room. A how window 
at the hack, filled with growing plants. Doors, l. 
and R. A fireplace r., with mantel holding a clock 
and ornaments. In the fireplace a shovel and poker. 
A table r. c. with hooks, china ornaments and a howl 
of water, filled with roses. Chairs r. and l. of tahle. 
A sofa L. c, with a number of cushions upon it. A 
telephone is fastened to the wall below the door, r. 

(At rise of curtain Maude Ivins is sitting on the sofa, 
L., deeply interested in reading a book.) 

Maude (reading). " To send a person into a hyp- 
notic trance " — Do so — and so (She makes the 

elaborate gestures of a trance medium.) How fasci- 
nating! (She reads again.) " To bring a person out 
of a trance " 

(Enter Jim Ivins, l. He carries a large hat-box.) 

Ivins. Home again, dearie! (A little cough.) 
Ahem ! 

Maude (turning to him with a little start). Oh! 
(She begins to read again.) It's only you. 

Ivins. Only me! Ahem! Husbands don't seem 
to count for much around here. 

(He puts the hat-box on the table, r. c, and takes off 
his hat and overcoat.) 

Maude (as she reads). I've found it at last! The 
secrets of hypnotism explained. 
Ivins. Hypnotism? Curse it. 

(He puts hat and overcoat on chair up l.) 
7 



8 A CURE FOR HYPNOTISM 

Maude (sharply). What did you say? 

IviNS (meekly). Yes, my dear! (A little cough.) 
Ahem! I said— " hypnotism ! Bless it." 

Maude. That's the first sensible word you've said 
in a week. But don't disturb me. (As she reads.) 
I've this new book to digest. 

IviNS. I hope it chokes you! 

Maude (sharply). Jim Ivins! 

IviNS (up c). Yes, my dear — ahem! 

Maude. What did you say? 

IviNS. I said I hope the book — ahem! — the book 
won't give you indigestion, my dear. (The telephone 
bell up R. rings. Ivins answers the call. ) Hello ! 
Yes, this is Mr. Ivins. Mr. Ivins! (Pause.) What? 
(Very happy.) Harry Janvier! How are you, old 
man? Thought you were in China. (Pause.) Just 
back, eh ? May you call ? Sure — delighted ! Ahem ! 
I'm married now, you know. — Yes, six months ago. 
I want you to meet my wife. We live at Number yy. 
Cleremont Avenue car. You'll be here in ten min- 
utes? Good. (He hangs up the telephone receiver 
and comes down r. to table.) You hear, Maude. 
Really good news. My old pal, Harry Janvier, is com- 
ing in. He's been in business in China for six years. 
Dear old chap! We'll have a cozy little dinner for 
three 

Maude. Dine without me. I must finish this book. 

(She rises, aossing to c, where she stops, reading 
intently. ) 

Ivins (angrily). See here, Maude (Maude 

turns to him sharply. Ivins becomes very meek.) 
Yes, my dear. Ahem! (Maude sits at l. of table 
and starts to read her book. Ivins looks at her in 
despair, then opens the hat-box on the table and takes 
out a gorgeous hat.) On my way home I saw a bit of 
millinery — a trifle — I thought it might please you. 

(He holds up the hat.) 
Maude (not looking up from her reading). Jim! 



A CURE FOR HYPNOTISM 9 

IviNS (looking at the hat). Ahem! I thought 
you'd Uke it. 

Maude (looking at the hook and not seeing the hat). 
It thrills me ! 

IviNS. It ought to. It cost me thirty dollars. 
(He puts the hat on Maude's head backward.) 
There ! 

Maude. Pshaw ! 

(She takes off the hat, looking at it indifferently.) 

IviNS. You said it thrilled you ! 

Maude. This fright? (She throws the hat on the 
table carelessly, and resumes her reading.) No, this 
book. 

IviNs (in despair). Well, I'll be hanged! 

(He angrily replaces the hat in the hat-box.) 

Maude (indicating her book). This says I can 
hypnotize our bull terrier ; make him think he's you ! 

IviNS. Then what would I be, the bull terrier? 
I like that ! (Imitating a dog. ) Bow ! Bow ! Ahem I 

Maude. James Ivins! What are you doing? 

IviNS. I feel as if I'm going mad ! 

[ (He angrily puts the cover on the hat-box.) 

Maude (reading from her book). *' One in a 
hypnotic trance may be made to think he is any one 
the medium may desire." 

Ivins. I wish you'd make me think I was some 
other woman's husband. 

Maude (angrily). Wretch! 

(She throws her book on the table R. c.) 

IviNS (meekly). Yes, my dear — ahem! 

Maude. Say that again ! 

IviNS. I said " yes, my dear — ahem ! " 

Maude. That's not a remark ; it's a disease. Your 
words before that ? 

Ivins. I said — ahem ! — I wished you'd make me 
think I was some other woman's husband 

Maude. I thought so ! James, you're impossible ! 



10 A CURE FOR HYPNOTISM 

{She goes up.) 

IviNS. Here I get mine! 

{He collapses into chair at r. of table.) 

Maude {up c). I won't speak another word to 
you to-night ! 

{She exits quickly, r.) 

IviNS {thinking her still there). If I may suggest, 
my dear — ahem! Hypnotism should be blamed, not 
me. Morning, noon and night I hear of nothing else. 
It has got you as completely, I may say — why, it's as 
bad as the drug habit! {Enter Harry Janvier, l. 
He stops on seeing Ivins, standing up l. as the latter 
continues. Ivins, not noticing Harry.) I'd even 
give a month's wages, my dear, to cure you of this 
hypnotism. Then our marriage wouldn't seem like 
such a failure. I'd have a happy little home that was 
really happy! {He pauses for a reply.) Well, what 
have you to say to that? {Receiving no anszver, he 
turns and sees Harry for the first time. Harry laughs 
heartily. ) Harry ! 

Harry. Jim! {They meet at c, shaking hands.) 
I say ! It's good to see you \ 

Ivins. Same here, old fellow ! Like our office 
days together! My! You look well. Stouter, per- 
haps. Life in China certainly agreed with you ! 

Harry. Same to you, Jim. That is — well, I 
couldn't help hearing, as I came in. What's all this 
about not being happy? 

Ivins {sadly). I haven't been happy for a month. 
I'm sorry to have to say it — ahem ! — my wife has a 
craze for hypnotism. 

Harry. The deuce you say ! 

Ivins. Before I'd marry such a woman again, I'd 
run away with a Hottentot ! 

Harry. A Hottentot! Isn't that putting it rather 
strong? Don't be disheartened. It's a long lane that 
has no turning. 

Ivins. Marriage isn't a lane; it's a blind alley. 



A CURE FOR HYPNOTISM II 

(Goes R.) 

Harry. Hard luck, old man! Wish I could help 
you. (Harry takes from the table the book on 
hypnotism, reading the title.) " Secrets of Hypno- 
tism," by Professor Bonnelli. 

IviNS. The cause of it all. 

(He sits R. of table, covering his face with his hands 
in despair. Harry glances through the book, then 
turns to IviNS with a sudden inspiration.) 

Harry. By thunder 

IviNS. What? 
Harry. If I could 



IviNS. Could what? 

Harry. Cure your wife! 

IviNS (quickly rising, joy f idly), Harry! You 
think you could? 

Harry. I might make her sorry she ever heard of 
hypnotism ! 

IviNS. H you could, old man — why, it would mean 
new life to me ! 

Harry (reflecting). She doesn't know me — there 
wouldn't be so much harm done if she'd dislike 

me (After another moment of reflection.) I'll 

do it, Jim! 

IviNS. Great ! 

Harry. On one condition. 

IviNS. What's that? 

Harry. Stand by me. Agree to everything I do 
and say. 

IviNS. Will I? Why, I'll die with you! Ahem! 
But we mustn't let her know. 

Harry. Of course not. Go I Ask her to come in. 

IviNS (going up toward door, R.). But we must 
be very, very careful ! Ahem ! 

Harry. Remember! You'll agree to everything I 
say and do ! 

IviNS. Everything! But — (glancing off R., tim- 
idly) we must be careful — ahem ! 

(Exit, R.), 



12 A CURE FOR HYPNOTISM 

-m- 

Harry (laughs, then sits l. of table and begins to 
read from the book on hypnotism). "To go into a 
trance" — ah — um — "the subject seems to sleep." 
That's easy enough, after Hving in China. (Reading.) 
" While in a trance, the subject speaks in a sepulchral 
voice." (He speaks in a deep, hollow voice.) I'll 
do that, all right. (Reading.) "To come out of a 

trance " (Closing the book and laying it on 

table.) Hum — (reflecting) what shall I do while in 
the trance? (With a sudden inspiration.) I've got 
it ! We'll cure her ! 

(IviNS reenters, r., followed by Maude. Harry at 
once assumes the manner of an invalid.) 

IviNS. Harry, my wife. 

Maude (coming down l. c). How do you do? 

Harry (rising weakly, with a grimace of pain). 
I feel wretched, thanks. (Coughing and shivering 
violently.) I wanted so much to meet you the mo- 
ment Jim said you were an expert in hypnotism. I 
hoped you could use it to cure me. 

• (He shivers violently.) 

Maude. Jim ! Why didn't you say he was ill ? 

IviNS (up c). Yes, my dear! Ahem! 

Harry (coughing). I am. Miserably ill. My 
doctor says that nothing short of the hibetating effect 
of hypnosis will give me relief. You see, I've very' 
sensitive nerves. (He shivers violently.) The slight- 
est thing makes them tremble like — (shivering) like an 
old flivver. 

Maude. How very interesting! 

Harry. In China I had a fever. 

Maude. A fever? 

Harry. That's what made my nerves like this. 

(Shivers violently.) 

Maude. Poor fellow ! (She goes to him.) You'd 
make an ideal subject for a hypnotic trance ! 
Harry. If you only would 



A CURE FOR HYPNOTISM I3 

Maude. May I try? 

{She slowly makes passes with her hands before his 
face, looking into Harry's eyes intensely.) 

Harry. Don't look at me like that ! Your eyes 
cut right through me ! (He covers his eyes with his 
hand, as if to shield them, then drops his hand and 
looks at her again.) I can't resist! (Maude again 
makes the passes. ) Stop it ! Will you please stop 
it ! Don't ! You're hurting me ! Ah 

(Harry shivers. His eyes stare, his fingers twitch, 
then he stands rigid, apparently in a trance.) 

Maude (l. c). Now, Jim, carry him to the sofa. 

(IviNS comes down to the r. of Harry and takes him 
by the arm. Harry's arm shoots out quickly at 
right angles from his body and strikes Ivins on the 
chest. With a cry, Ivins jumps back and falls 
into chair l. of table. Ivins rises and circles around 
to the L. of Harry and takes his other arm, stand- 
ing as far from Harry as he can. Harry's leg 
shoots out and kicks Ivins in the shins. Ivins 
groans and nurses his shins. Maude goes up c. 
She looks nervous.) 

(After circling around Harry again, Ivins goes up 
behind him, lowers Harry's arm and brings his legs 
together. All this time, Harry is very rigid.) 

(Ivins now leans down and seizes Harry around the 
waist from behind. Harry sei:ses Ivins' trouser 
leg. The more Ivins pulls at Harry, the higher 
Harry pidls Ivins' leg. When Ivins' leg is high 
in air, he loses his balance and goes over backward, 
Harry on top of him. Ivins picks himself up, 
looks at Harry, who is still rigid, and lifts him up. 
Ivins drags Harry to the sofa, l., and places him 
on it. Maude comes down behind the sofa and 
passes her hand over Harry's forehead and eyes.) 

Maude. How do you feel? 



14 A CURE FOR HYPNOTISM 

Harry. Fine ! You can do that all night. 

Maude {repeating the passes). I mean — how else 
do you feel? 

Harry. I feel — I feel — how do I feel? Such a 
relief. {With a sigh of contentment.) Nerves all 
gone. The only other thing I feel is a desire, an 
insane desire — to break something! 

{He seizes the cushions on the sofa and throws two 
of them violently on the floor and two others to R. 
and up c. One of the cushions hits Ivins. Harry 
throzvs the rest of the cushions to back, then sinks 
back on the sofa, shaking with suppressed laugh- 
ter.) 

Ivins. Stop him, can't you? 

Maude. People in trances do that! They break 
everything! (Harry begins to laugh very loud. 
Maude runs to the back of the sofa again and places 
her hands over Harry's eyes. Harry gradually 
becomes quiet.) Now I'm going to try Professor 
Bonnelli's experiment; make him think he's some 
one else. 

Ivins. Who'll you make him think he is? 

Maude. I'll make him think he's you! 

Ivins. No! No! Maude darling! Who ever 
heard of two husbands; one telling on the other fel- 
low? 

Maude. You're afraid! 

Ivins {with feigned indifference). Not at all! 
Ahem! 

{He goes up l. then crosses to R. Maude assumes a 
solemn demeanor and makes passes in front of 
Harry's face.) 

Maude {to Harry). You are my husband, James 
Ivins! {She pauses.) Who are you? 
Harry. I'm Harry Janvier! 

(Ivins chuckles. Maude turns to him angrily. 
Ivins is suddenly very meek.) 



A CURE FOR HYPNOTISM 



15 



IviNS. Yes, my dear! Ahem! You see? You 
cannot do it. {He comes down and sits r. of table.) 

Maude. He must come to it gradually! {She 
repeats the passes in front of Harry's face.) You 
are my husband, James Ivins! {A pause.) Who 
are you? 

Harry. I'm— {hesitating) I'm Harry Janvier! 

(Ivins laughs heartily. Maude turns to him sharply.) 

Ivins. Yes, my dear! Ahem! 
Maude {again repeating the passes with Harry). 
You are my husband, James Ivins! {A pause.) 
Who are you? 

Harry {hereafter mimicking Ivins' voice and man- 
ner). I'm— I'm your husband, James Ivins! Yes 
my dear ! Ahem ! 

Ivins {rising, alarmed). See here! A joke's a 
joke, but 

Maude {severely). This is a triumph of science! 
(Maude turns to Harry, speaking sweetly.) Now 
tell me, husband dear, what did you say about me to 
Harry Janvier? 

Ivins {protesting). Maude! (Maude turns to 
Ivins, severely.) Yes, my dear! Ahem! 

Harry {speaking slowly, imitating Ivins). I, your 
husband, said to Harry Janvier— ahem !— that rather 
than marry such a woman again, I'd run away with a 
Hottentot ! 

Maude {very angry). James! 

Ivins. Yes, my dear ! Ahem ! 

Maude {to Ivins). You said that? 

Harry. Of course I said it ! 

Ivins. That's my finish ! 

{He collapses into chair, r.) 

Maude. Til discuss that with you later! (Harry 
ts convulsed with laughter. He doubles up on the 
sofa, shaking. Maude drazvs away from him with a 
httle shriek of alarm.) James! Quickly! Hold 
him! Hold him! (Ivins hastens l. to the sofa and 



l6 A CURE FOk HYPNOTISM 

tries to straighten out Harry's body. Everj time 
IviNS tries to approach Harry, the latter kicks at him. 
IviNS finally straightens out Harry on the sofa. 
Maude again goes up behind the sofa and repeats the 
passes. Harry finally lies quietly.) You know who 
you are? 

Harry {imitating Ivins). Of course. I'm James 
Ivins, your husband. Just come home to my dear 
little wife! {He seizes Maude's hand.) Kiss me, 
dearie. 

Maude {astonished and angry). How dare you! 

Harry. Haven't I the right? I'm your husband. 
Ahem! {He rises, going toward Maude. Maude 
backs away from him. Ivins quickly interposes when 
Harry tries to hug Maude, .yo that Harry embraces 
Ivins instead. Harry laughs and thrusts Ivins aside, 
again approaching Maude.) Come! Kiss your hus- 
band! 

Ivins {intercepting Harry again). You mustn't 
kiss her! 

Harry. Why not? I like it! 

Ivins (c). Well, I don't! 

Maude (r. c). I'm not your wife! {Embracing 
Ivins.) Here's the man I love! 

Harry (l. c). Leave that fellow! Come here! 

{He again starts toward Maude.) 

Maude {retreating to extreme r.). I won't! 

Harry. Come here ! 

Ivins {pushing Harry away). Hands off my 
wife! 

Harry. Your wife? No! My wife! {To 
Maude.) I'm your husband! Didn't you tell me so 
yourself? Oh! This is too much! Let me break 
something ! 

{He throws Ivins aside and sweeps the ornaments 
from the table, r. c.) 

Ivins. Wake him up! We won't have a thine 
left ! ^ 



A CURE FOR HYPNOTISM l"] 

Maude '{timidly). Ye-ye-yes. I'll wake him up! 
{She approaches Harry, violently making the passes. 
Harry leans against the table, staring at her hut 
making no other response.) Now! Wake up! 
Wake up! (Harry does not respond. Maude re- 
peats the passes.) Jim — I'm not sure 

IviNS. You mustn't lose your nerve ! 

{Comes down l. c. Maude goes around table to r.) 

Maude {tearfully). Why doesn't he wake up? 
What does the book say? {She turns to table, picks 
up book, opens it anxiously.) Here it is! {Read- 
ing.) "A sudden slap on the cheek " 

IviNS. A sudden slap on the cheek! 

{He starts to strike Harry on the cheek. Harry 
parries the blow and strikes IviNS on the cheek 
instead.) 

Maude. Now both do this together! (Maude 
throzvs book on table and repeats the passes. Ivins, 
imitating her, tries to do likewise.) Now he must 
wake up! {To Harry.) Who are you? 

Harry {still 'imitating Ivins). I'm your husband, 
dearie ! Ahem ! ( Coughs. ) 

Maude {in despair). Still in the trance ! 

{Goes up c.) 

Ivins. Wake up! Wake up! 

Harry. Oh ! I must break something ! 

{He seizes the hat-box on the table and breaks^ it 
over Ivins' head, the latter's face protruding 
through it.) 

Maude. Give him a shock ! Dash this in his face ! 

(Maude takes the flowers from the vase on mantel 
or stand up c, comes down and thrusts the^ vase 
into Ivins' hands. Ivins throws the water in the 
jar into Harry's face. Maude is down l. c. ) 

Harry {to Ivins, fiercely). Blackguard! You 



l8 A CURE FOR HYPNOTISM 

take my wife! Now you'd drown me! {He 
snatches up chair l. of table, and swings it threaten- 
ingly.) I'll end you both I (Ivins runs l., hiding 
behind Maude. Harry advances l. Maude and 
IviNs hide behind each other in turn, retreating step 
by step, across l., up l., across and down r.) You 
can't escape me now ! 
Maude. Oh ! 

{She hides behind Ivins, who still carries the vase, 
which he waves wildly.) 

Harry. Where's the man who'd keep my wife 
from me ! 

(Ivins hides behind Maude.) 

Maude. W-w-what a fool I've been ! 
Harry. You repent? Give up hypnotism? 
Maude. No — that is — oh! 

(Harry swings his chair, and with a scream, Maude 
hides behind Ivins.) 

Ivins. Yes — yes! You'll give up 'most every- 
thing, won't you, dearie? 

{He pushes Maude forward, hiding behind her.) 

Harry {now down l., to Maude up l. c). You 
no longer believe in hypnotism? 

Maude. How can I help believing? You're 
hypnotized, aren't you? 

Harry {apart, glumly). I'd not thought of that. 
{He turns to Maude and Ivins again 'fiercely.) 
Then take your punishment ! 

{He advances toward them.) 

Ivins. S-s-h-e-e had best speak for herself ! 

{He pushes Maude forward, hiding behind her.) 

Harry {now up c, to Maude, now up r. c). 
Prove that you're done with hypnotism! 



A CURE FOR HYPNOTISM I9 

Maude. How ? How ? 

Harry. Bring me your book on hypnotism! Say 
I'm not hypnotized ! 

Maude (retreating down to R. of table). But you 
are hypnotized! 

Harry. What? Not cured yet? Then I'll end 
you both ! 

(Harry makes a hinge at Ivins, who evades him. 
IviNS drops vase, rims wildly up c. to fireplace, 
backs up to it, reaches out a hand blindly as though 
to find a poker, backs into stand of fire-irons, which 
upsets with a crash. Ivins then runs to window 
up L., or to door up l. if preferred.) 

Ivins. Help! Help! Murder! ~^ 

(Maude snatches up the book from table and extends 
it toward Harry, in terror.) 

Maude. Take it! Take it! I'm done with 
hypnotism ! 

Harry. You're cured? (He laughs, suddenly 
dropping his wild manner and his mimicry of Ivins, 
and being himself again. He replaces chair near 
table.) The murder's postponed! (He bows to 
Maude, laughing.) And you'll pardon me? Agree 
that the end justifies the means! 

(He takes book from Maude, tears it up, and throws 
it into the fireplace up c. As he does so, IviNS 
turns from window up l. and comes down L.) 

Ivins (miserably), Maude! Maude! 
Maude. Darling ! 

(She runs across l. to him and embraces him. Harry 
comes down c. He raises his hands, " blessing " 
them, and laughing heartily.) 



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Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT \(rOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com-/ 
bination of a real "entertainment," including music, recitations,' 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
eludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketcij 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con« 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainm.ent is a sure success. Price, 15 cents* 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
>©f a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 

Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or tw» rehearsals. Price, 25 cents. 

BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
tun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia San ford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest frienJ. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Power of F library of. congress 




016 103 750 3 



Expression and efficiency go hand in 

The power of clear and forceful ex 

dcnce and poise at all times — in privalv. ^^ti^Tm^a, m puDIic 

discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request. 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

1714 De Lancey Street Philadelphia 



